Couture TextileArt Vienna Austria ArtistSigned Vintage Brocade&Silk TeddyBearToy

With a delicate eyelash-lace boatneck and hem, this couture transparent red-and-black floral silk evening sleeveless midi dress is constructed with torso tucks above and below horizo...

As a signed and 2002-dated limited edition, French architect and furnishings designer Jean Nouvel was commissioned to create this yellow-accented vase or aperitif glass for one of th...

Antique colorful Steuben blown glass pieces featuring the "Moss Agate" technique designed by its co-founding artistic director Frederick Carder are unsigned and "all rare" according ...

This antique ArtDeco-period Steuben mostly purple glass vase designed by its co-founder Frederick Carder is a colorless-crystal-cased "Transparent Amethyst Bubbly" type with colorless crystal decoration including a rare cut lip-wrap with thick undulating application that adds up to a 3.5-inch-diameter flat rim, along with a smooth casing over a rare see-through twisted linear air-trap pattern with a wider 4-inch hip near the footless bottom. Weighing 625 grams, the short heavy vase is a hybrid matching Steuben shape-numbers 7273 with its variety of colorless cut-crystal lip-wrap decoration and 7036 with its colorless cut-crystal casing. These like forms were produced in multiple colors/shading and patterns with or without a foot and/or decoration in a wide variety of hybrid techniques that are characteristic of the designs by Carder. The 7000 series was among the last produced by Carder before his 30 years as artistic director since 1903 came to an end based on the board decision of Steuben parent-company Corning Glass Works to abandon color by 1933 and move forward using only progressive optical glass with colorless brilliance. The Carder Steuben Glass Association has published for its online shape-index a handful of approximately 10-inch-tall 7273/7036 versions, along with similar shorter shapes like the 8.25-inch 7083 vase and 7 5/8-inch 7206 "Bubbly" vase, along with the much earlier 1153 salt-and-pepper shakers of about half that size but of unlimited dimensions in a vague line drawing. A photo of one 1153-variation shows them with perforated metal caps at 3.5-inches tall in "Transparent Amethyst" like our vase, but with optic ribs instead of air-trapping. Despite the early line drawing, it is most likely that our vase was made in the late 1920s to early 1930s when Carder designed air-trap pieces with coarser glass particles and heavier crystal casing and applications. In the 1974-published book featuring only museum-quality glass works, Steuben: Seventy Years of American Glass Making, its pages 42-43 highlight a similar unmarked photographed Cluthra vase...

This vintage amusing enameled silver pendant adjustable-chain unsigned necklace, belt or novel interior decoration features heart-shaped two-inch-long links painted in six colors of ...

As conceptual art while he transitioned to Hermes Creative Director in 1998, Belgian Martin Margiela--whose creations today debut in the setting of a contemporary-art gallery priced at upwards of EU$150,000--created this stenciled or block print. Conceived by arguably the most culturally influential contemporary fashion designer since Gabriel "Coco" Chanel, it is part of a limited-edition-of-two white-boxed set that includes the couture Maison Martin Margiela "Artisanal Line 0" body-harness lingerie in its maker's signature color white for Spring 1998. The same lingerie--one white and the other black--starred in a film made by Margiela among the five that he screened to present his Spring/Summer 1998 "Flat Collection" in Paris at the Conciergerie. In that film titled "4", which begins with a view of the iconic topless tabi "boots", the hands of Margiela's white-labcoat-clad assistants enter the frame to manipulate different garments on a model who initially wears the exterior lingerie (see our photos) as if jewelry. A simple dark collared coat, a white collared button-down shirt, and a dark button-down cardigan--all with the "displaced neckline" or "displaced shoulder" of the flat-hanging clothes--are transformed into new collarless plunging v-neck garments, which appear to be ruched when folded under the harness of the lingerie. Both black versions of the lingerie are in museum collections. In Martin Margiela's home-country, the ModeMuseum (MoMu) archived its collected piece as OBJ7660. In the 2018 Parisian retrospective exhibition at Musee de la Mode/Palais Galleria when its artistic director was Martin Margiela (working with Curator Alexandre Samson), the second black lingerie was featured on a mannequin and collected the same year by the Vogue Paris Foundation. Other conceptual designs from this same 1998 collection of jewelry were acquired by TheMet museum in Manhattan. Without the restriction of the use and function of clothing, the small uncreased print--on a card that can be removed from the interior-box bottom that it loosely spans--shows the buyer how to endlessly fashion unique tops using the structural-elastic lingerie as an undergarment for their own pre-worn button-down shirts. This is a more obvious example of the once avant-garde concept of anti-fashion upcycling that Martin Margiela introduced to challenge social and fashion-industry norms by the 1990s, which echos the revolutionary anti-art of Marcel Duchamp. Essentially, valuable art/fashion can be made from everyday vintage objects. While Duchamp did so in 1917 with a men's porcelain urinal titled "Fountain" attached to a gallery exhibition wall, they both made the point that it is the way that such items are reassembled that can make the result a progressive statement. What makes the print so special and worthy of framing for display is that, without words, the three numbered images on a single white card encapsulate the before-its-time fashion manifesto of Martin Margiela to recycle fashion in remarkable new wearable ways, such as harnessed by his unique lingerie. According to The New York Times in its 2021 feature-story that reflected on his radical fashion design and delved into his crossover art, Margiela "changed how we dressed in the 1990s", while his art embodies "the visionary man he has always been." At a turning-point shortly after Margiela designed this couture set in 1997, his personal manifesto became more difficult to accomplish in his fashion career as the new leader of France's historic luxury fashion-house Hermes, for which his first womenswear collection was presented for Autumn/Winter 1998. Frustrated by the limitations of the industrialized luxury trade and conglomerate conflicts with his closely guarded privacy, the famously "invisible" designer pre-maturely retired from the fashion industry in 2009 to independently build on his clever artistry in other mediums. Margiela continues to demonstrate what he often told his fashion teams: "The less you have, the more creative you are as a designer." This minimal finely-crafted lingerie without size or gender restriction--composed of adjustable "polya-elasthanne" straps with a clear anti-slip strip on the underside and three silver-plated metal double-rings--can be worn either as a concealed structural undergarment or as a visible jewelry-like body harness in appreciation of its meaning as a foundation for recycling fashion, pure form, and meaningful color. While the initial Maison Martin Margiela ready-to-wear brand tag until the late 1990s was a distinct corner-sewn unbranded white label accompanied by tags for origin and materials/care, the couture version for this lingerie is a single tiny white unbranded tag stitched in a line near the end of the waist strap, noting in English, "Made In France," with succinct material/care identification. The set's original white unbranded box and its white black-typed couture-identification sticker complete the "invisible-brand" aesthetic. We interpret the black-type codes on the aged box-sticker (“E98 ST HAUT; Struct Elas Blanc; 02; TU"): Spring 1998 Haute Couture; white structural-elastic garment; Artisanal Line 0 edition of two; one size only. The print, lingerie and box are in very good condition as shown in the photos with only one mark on the rear edge of the exterior box-lid. Although initially tried on by the sole owner to realize a restructured shirt, the lingerie body-harness was never worn. It was collected in Belgium at the Brussels boutique where Martin Margiela initially sold his brand with his founding business-partner Jenny Meirens since 1988. Prior, Margiela worked for several years as a fashion-design assistant to Parisian Jean Paul Gaultier. Both designers have since received independent museum retrospectives internationally--from Paris' Grand Palais and Musee Palais Galliera (The City of Paris Fashion Museum) to NYC's The Brooklyn Museum and Antwerp's MoMu. While others continue to try, Martin Margiela (b.1957) is the only leading fashion designer to have made a full-time transition to the commercial contemporary-art world with such highly valued works. As a rare revealing piece of both fashion and art history, the increasing value of this Maison Martin Margiela 1997...

Chrome Hearts Brown Wool Fur Silver Teddy Bear Brand new .925 silver hardware details Very rare Chrome Hearts Teddy Bear Soft and insane piece to o...

Barbie Fashion Model / High Tea and Savories / Gold Label. Certificate of authenticity . Collector card. Size: 31,75 cm ( = 12,5 inches)

Barbie Collector/ "All that Jazz" / Gold Label. Certificate of authenticity and Collector card. Doll and 1968 Fashion Reproduction.

Barbie Fashion Model / " The Secretary" / Gold Label Designed by Robert Best. Certificate of authenticity. 8100 copies Worldwide

2002 Gold 'N Glamour Vintage Barbie Reproduction This is a reproduction of Vintage Barbie Gold ‘N Glamour #1647 (1965) and a Blonde American Girl Vint...

Pre-Owned Vintage Condition From 1998 Collection Monogram Canvas Leather Trim Diameter 8" Includes Inflator and Dust Bag 100% Authenticity Guaranteed by NEWFOUND LUXURY